Even while showing that the religious instruction and sacramental participation of most rural dwellers in Puerto Rico were minimal at best, Lopez Cantos remains convinced that "the religious profile of the Puerto Rican [at least during the 18th century] was based exclusively on the doctrine of the Catholic Church.

The content of the Cantos stretches out far and wide, in pursuit of appropriate models of language, thought, and conduct, taking in, among many others, the Provencal and early Italian poets, founders of modes of government and codes of behaviour like Confucius and Jefferson, and some of the examples of primitive religious feeling recorded in Ovid's Metamorphoses.

In formal terms, the Furioso is significantly more complex than the Innamorato, largely because, in addition to the interweaving of narrative strands and free standing episodes, Ariosto's interlace extends to include, as integrally constitutive elements, a number of non-narrative structures, most notably: 1) the authorial proems that invariably precede each canto and comment on what has gone before and what comes after; [16] 2) the numerous other aurhorial digressions and interventions so well discussed by Durling; 3) the major encomiastic and ekphrasric interludes in cantos 3, 26, 33, 42, 46; [17] 4) the principal allegorical episodes (of Alcina's island -- cantos 6-8, 10 -- and the lunar surface -- cantos 34-35), which participate in but also gloss the surrounding narrative lines.

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